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A LECTUBE 



Shakespeare's Enigmatical Work, 



Embracing a New Theory, 



By Joseph VVatson, 

(Member of the Newport Historical Society.) 



Delivered before the Newport. Lecture Association and the Newport 

Historical Society, also under the auspices of the American 

Literary Bureau in Boston; and in Providence, 

(R. I.,) after introductory remarks by the 

Executive of the State, &c, &c. 





(Private Edition.— Copyrighted according to Law.) 



NEWPORT, R. I.: 

DAVIS AND PITMAN, STEAM PRINTERS, 
1878. . 

■ 






• W3 



Entebed accoeding to the Act of Congeess, in the Yeae 1878, 

BY JOSEPH WATSON, 
In the office of the Libeaeian of Congeess, at Washington. 



EXTRACTS FROM A FEW OF THE OPINIONS CONSIDERED BY 
THE AUTHOR OF THIS PAMPHLET. 



# — "You would pluck out the heart of my mys- 

tery; you would sound me from my lowest note 
to the top of my compass." — Hamlet, Act III, 
Scene II. 

—"Scarce any character in history has provoked so great a diversity 
of opinion as Hamlet. * . * * One man thinks he is great but wicked ; 
another, that he is good but weak ; a third, that he is a coward and dare 
uot act ; a fourth, that he has too much intellect for his will, and so 
reflects away the time of action. Doubtless there are facts in the repre- 
sentation which considered by themselves, would sustain any one of 
these views ; but none of them seems reconcilable with all the facts taken 
together. Yet, notwithstanding this diversity of facts and conclusions, 
all agree in thinking and feeling and speaking about Hamlet as an actual 
person. It is easy, indeed, to invest with plausibilty almost any theory 
in regard to him ; but it is extremely hard to make any theory compre- 
hend the whole subject : and, though all are impressed with the truth 
of the character, no one is satisfied with another's explanation of it. 
The question is why, with this unanimity as to his being a man, do men 
differ so much as to what sort of a man he is ? * * * Whether his insanity 
be real or feigned, or whether it be a species of intermittent insanity, or 
whether it be sometimes real, sometimes feigned, are questions which, 
like many that arise on similar points in actual life, can never be fully 
and finally settled one way or the other." — Hudson. 

— "Hamlet's is a grave moral condition, a great malady of soul, that 
frequently attacks the most gifted of our species, and afflicts them with 
a disturbance of mind which sometimes borders very closely upon mad- 
ness. This play contains the most remarkable examples of Shakespeare's 
most sublime beauties, as well as of his most glaring defects." — M. 
Guizot. 

— "The amazing drama of 'Hamlet' is studed with a glittering firm- 
ament of beauties. I conclude that its author did not intend to portray 
real madness in the conduct of his hero. A more accomplished, a more 
courteous gentleman than Hamlet, is not to be found in all Shakespeare, 
(and I was going to say) or anywhere else." — Charles Cowden Clarke. 

—"Hamlet was one who speculated without reasoning. "—Richard 
Grant White. 



— "It has been declared to be a kind of barbarous, bloody tragedy, 
worthy of a rude age. But in this the aim of the poet has been, to use 
this unnecessary blood shed as part of the characterization as well as 
punishment of Hamlet, who has not courage to shed necessary blood. 
* * * Voltaire said ' Hamlet ' was a play that would not be endured by the 
lowest mob in France or Italy ; he could say ' it was the fruit of the im- 
agination of an intoxicated savage !' * * * JVIalone could make nothing 
out of this play ; but I consider that no work of Shakespeare's is truly 
more clear in its design." — Gervinus. 

— " Hamlet is a beautiful, noble, pure, moral being, without the 
strength that makes the hero." — Goethe.. 

— " Thei'e is that about Hamlet which we cannot understand. Is he 
essentially ' in madness ' or mad ' only in craft ?' Where is the line 
to be drawn between his artificial and his real character?" — Glmrles 
Knight. 

— " It is this dreamy confusion, and romantic uncertainty of Hamlet's 
mood, which gives to the German critics their vast opportunity for spec- 
ulation and display. Some of them have told us that they can not 
account for the wonderful charm of this play above all others of our 
author, but it seems to me that the secret of the great interest which the 
kind-hearted general public take in the character of Hamlet, lies in the 
wrongs which he suffered, and the filial gentleness and religious subor- 
dination he exhibits in receiving the command and exhortations of his 
father's ghost." — George Wilkes. 

— " Hamlet's speech, on taking in his hand what he supposed might be 
the skull of a lawyer, abounds with lawyer-like thoughts and words." — 
Lord Chief Justice Campbell. 4 

— "In 'Hamlet' we learn the two fold force of prayer, as obtain- 
ing grace to prevent us from sinning, or pardon when we have sinned. 
In my opinion Hamlet's insanity was not so feigned as to have no 
foundation in actual derangement." — BisJwp Wordsvwrth. 

— " The majority of readers, at the present day, (1869) believe that 
Hamlet's madness was real. I therefore find myself with the minority ; 
for I regard it as feigned. Certain it is, however, that the same opinions 
were once held by a large majority. Perhaps the scale has since been 
turned by those who were able to throw into it the weight of their pro- 
fessional knowledge. Yet their scientific arguments barely go to prove 
what is possible ; while my aim has been to show what is probable If, 
therefore, the question is narrowed down to one of possibility against 
probability, what must be the answer?" — C. W. Stearns, M. D. 



EXPLANATORY REMARKS. 



" The play of ' Hamlet ' has a prophetic truth which is above that of history." 

HAZLITT. 

"Are we then wrong in treating Hamlet as a reality, and in debating the state of 
his mind with more care than we would choose to bestow upon the insane vagaries of 
an Emperor Paul or a Frederick Wilhelm ? Have we not more sure data upon which 
to exercise judgment than ux>on the uncertain truth of history ?" 

BUCKNILL. 

William Maginn, after his pen had established the popularity of Black- 
wood's Magazine, declared that there could not be found, in the known 
world, a person capable of writing a regular dissertation on "Hamlet;" 
while the Rev. H. N. Hudson argues : that a theory establishing Hamlet, 
as either a sane, or an insane character, can never be created that will 
meet with general recognition from the literary world. These opinions 
are from eminent sources ; but I have made an effort to rebut them by 
showing that the question can be discussed from entirely new stand- 
points, and for the purpose of presenting my own argument in a more 
complete form, I have revised the Lecture originally delivered by me 
at the rooms of the Redwood Library in Newport, and my labors, as 
herewith published, reject all remarks upon the general subject of 
Shakespeare which that effort included, and adds to its main feature, 
portions of those made upon "Hamlet" at the lecture presided over by 
the then Mayor of the same city. The lecture, as now printed, presents 
my theory of Shakespeare's Chef d'muvre as finally argued before vari- 
ous societies. 

It has been iny endeavor to produce a theory regarding this enigmati- 
cal subject that shall be distinct in itself ; for it must be admitted that even 
those critics and commentators who do not uphold the more prevailing 
theory of Hamlet's insanity, represent him as a person whose energies 
are blunted ; whose noble intentions never take form, or as belonging 
to that class of unfortunates who, being "led on through a dreamy 
labyrinth of speculation " finally 

" Close their dying eyes 
In grief that they have lived in vain." 

It seems that all writers, who have ventured opinions upon the point, 
deny that Hamlet killed the king as a result of his own plans; or in 
accordance with that judicial revenge which Heaven had demanded of 
him ; while my own theory is that he not only did so, but that he was a 
man of determined energy and action, whose life long qualities of mind 
and principles, were such as constitute the highest order of manhood. 



6 

It seeks also to rescue his memory from that which is worse than obscur- 
ity, and to award to him the glorious distinction of having, by means of 
his own plans, and action, delivered Denmark from the yoke of a 
usurped and debauched throne. John Quincy Adams agreed with his 
friend Mr. Hackett and other authorities upon Shakespeare, that Ham- 
let commenced by feigning, though he afterward became, at times, 
absolutely insane ; but the theory herewith offered denies that any tinge 
whatever of real insanity could have existed at any time in his career. 

It will be observed that I have, in brief, made use of various authori- 
ties, and this method has been adopted because I believe that those 
persons, who seek to learn the truth, are less liable to become unduly 
prejudiced in favor of any particular theory, when the force of opposite 
arguments are brought in sufficiently close proximity as to enable im- 
mediate deductions to be made from a combination of opinions. Con- 
clusions which the reader may thus arrive at, will be of the most intel- 
lectual character. 

One of the most eloquent essayists of England remarked that when 
he singled out the play of "Hamlet" he entered, as it were, upon a 
wilderness of thought where he knew his soul must soon be lost, but 
from which it could not return to the every-day world without bringing 
back "some lofty and mysterious conceptions, and a deeper insight into 
some of the most inscrutable recesses of human nature." These have 
been my own emotions, and are undoubtedly those of every student who 
enters upon a study of the piece, and I am induced to believe with the 
same writer : that though the discussion of Shakespeare has been inces- 
sant, yet, the public mind is still unsated, and that it continues to turn 
to any criticism on his genius with a curiosity felt towards that of no 
other mortal. I am aware that my views, as a whole, are antagonistic to 
those of the ablest minds that have flourished since the days of the great 
poet, and the only merit of my theory may be, that it is, at least, original = 
but the essayist referred to, remarks that something interesting there 
must be even from the humblest pens of those who have travelled through 
the kingdoms of Shakespeare; "and we turn" he says "with equal 
pleasure from the converse of those who have climbed over the magni- 
ficence of the highest mountain there, to the lowlier tales of less ambi- 
tious pilgrims, who have sat on the green, and sunny knoll, beneath 
the whispering tree, and by the music of the gentle rivulet." Thus 
encouraged I venture to publish this limited edition of a theory that is the 
result of my early researches in one of the same kingdoms. 

It may be proper, to add my acknowledgements, to those societies and 
committees that have "called me out;" for I realize the honor they have 
conferred upon me. I would also express my sense of appreciation that 
the following parties should have given substantial recognitions to either 
the following Coup d'essai, or my second attempt, entitled " Shakes- 



peare in America,"! viz: David King, M. D., Hon. George H. Calvert, 
H. E. Turner, M. D., and Ex. Mayor Atkinson, of Newport, Rev. Dr. 
H. W. Bellows, of New York, Mr. John T. Ford of Baltimore, Md., Rev. 
Dr. Hill of Germantown, Pa. , the late Gov. Padelf ord of R. I. , the late 
Rev. Dr. White of "Old Trinity," and the late President Caswell of 
Brown University.* 

Although this pamphlet is marked "Private Edition," yet it invites 
criticism, and I will say with the venerable J. Payne Collier (probably 
the most aged, living, Shakespearian critic) that no man can read the 
works of the great poet enough ; and my ambition shall be, what his 
has always been, to understand them properly, and to estimate them 
sufficiently. I shall therefore accept "terms of reproof" cheerfully, and 
"just correction" thankfully. 

JOSEPH WATSON. 

Newpobt, R. I., Ootobeb 1st, 1878. 

t Published by the New York Herald. 

* Calvert and Hill published their opinions of the lecture in the Newport Mercury, 
and Turner in the Daily News. Bellows' opinion of "Shakespeare in America," 
appeared in the Herald. Ford published a pamphlet endorsing the same essay, and 
Caswell signed a public communication, relating to the lecture. All others whose 
names are mentioned, made introductory, or after remarks, at times when the lecture 
was delivered. 



XiEOTTTIRIE 



ON 



j^kke^pekfe's S<i\i^n\ktidkl Wotk. 



The play of "Hamlet, Prince of Denmark," is a production 
in literature of such an extraordinary character that it calls 
forth in voluminous material comments of persons possessing 
the most mighty genius, challenges the admiration of pro- 
found intellects, becomes an idol of philosophers, and, in 
truth, a study of the reading world. "A vast deal " said the 
gifted Dr. Maginn, " has been written upon the subject, and 
by a great number of commentators, by men born in different 
countries, educated after different fashions, bred to the 
pursuits of different professions, avocations, occupations, 
from necessity or choice, favored with different intellectual 
powers, possessing learning of different species and in 
degrees, and, finally, born in different ages of the world ; yet 
it requires no very earnest examination and reflection to 
satisfy one's mind that little indeed has been written to the 
purpose!" Acd such are the writers who continue to devote 
much of their energies toward a solution of this enigmatical 
work. Do they fail in their efforts because Hamlet is insane ? 
On the extreme contrary. It is because of Hamlet's vast 
superiority in intellect, wisdom and godliness that the critics 
of two and a half centuries have been baffled. 

Dr. Bucknill, F. R. S., of London, has said that the strong 
sense of Johnson, the subtle insight of Coleridge, the fervid 
eloquence of Hazlitt, the discriminating tact of Schlegel 
are nowhere more evident than in their treatment of this 
play, which he characterizes as a mighty monument of human 



10 

intellect, and which he loves and prizes more than any other 
human piece of composition. Can it be then, that Shakes- 
peare,- the world's master of the human mind, intended (as the 
majority of writers claim) that the most elaborate work of 
his life should have aimed at the especial production of a 
mad character f or could the -work, without his knowledge,, 
have resulted in producing such a character ? If either case 
is a fact, all philosophers may be regarded as, more or less,, 
insane? for the utterances of Hamlet are pre-eminently phil- 
osophical. Taking into consideration the unparalleled trials 
to which he is subjected, I regard the behavior of this Prince 
to be in harmony with mental and physical soundness. He 
endeavors amid painful and conflicting surroundings, to be 
alike true to himself and the memory of his " noble father in 
the dust." His heart aches to carry out the " important acting 
of a dread command ;" but his profound reasoning faculties 
debar, for a brief period, the fulfilment of his purpose. From 
the time of his father's death, a natural degree of melancholy 
continually lingers with Hamlet from the fact that fresh 
trials and sorrows continue to afflict him. Without this 
shade of melancholy, which, strangely enough, is adduced 
as evidence of his insanity, we might well regard him as 
mad ; for, were he incapable of being thus impressed, it 
would argue a mind diseased, indeed, or feelings of less sen- 
sibility than are possessed by the brute. 

If Shakespeare intended that insanity should be feigned, it 
is not at all probable he would permit the character to be- 
come a failure by its not being well feigned. In determin- 
ing whether his hero assumes madness or is mad, it would 
seem necessary to particularly note his actions when in the 
presence of different parties and under different circum- 
stances. To this end I find that he never appears mad when 
alone with Horatio ; and I fail to find evidence that either of 
his confidents, Horatio or Marcellus, or, in fact, Bernardo, 
regard him as such. When alone with certain players he 
realizes the importance of impressing them, by means of his 
earnestness, that he desires the faithful rendering of a play. 
That they may "hold the mirror up to nature," wherein the 



11 

King will see his own guilt, is Hamlet's unmistakable aim in 
imparting to his pupils such careful instructions. When 
absolutely alone he soliloquizes most profoundly. 

In support of the following conclusions I rely upon the 
general force of my argument, and assuming the theory of 
feigned insanity they are natural results, such as Hamlet's 
behavior would produce : — 

First — That Horatio, Marcelius and Bernardo know that 
Hamlet feigns insanity. 

Second — That "the certain players,' 1 during their inter- 
views with Hamlet, become convinced that he is not insane. 

Third — That all other parties believe him to be insane, 
yet some of them, at times, entertain doubts. 

A doubt certainly flits across the mind of Polonius when 
he says : — 

* ; Though this be madness, yet 
There's method in it." 

That the King becomes impressed with doubt is evident in 
this remark : — 

"What he spake, though it lack'd form a little, 
Was not like madness. There's something in his soul, 
O'er which his melancholy sits on brood." 

And it is just here, that Shakespeare exhibits his genius in 
a remarkable degree. He permits Hamlet to feign madness 
almost to the degree of perfection, but ever true to laws 
and principles ; he realizes the difference between art and 
nature, and therefore causes the assumption to fall sufficient- 
ly short of reality as to excite these and other doubts, there* 
by constituting the character a perfect one in its true 
bearing. 

By a careful analysis I find where Hamlet, in successive 
turns, faces five trying situations, each of which is a prop to 
our theory : — 

First — With the players: wherein he ventures criticisms 
which are correct, and in their bearing unequalled for power 
of expression. 

Second — With Polonius, Rosencrantz and Guildenstern : 
wherein he exhibits presence of mind and much ease in rid- 
ding himself of these intruders. 



12 

Third — Alone : wherein his mind still maintains its integ- 
rity, and with much forethought, he calls Horatio to him for 
the purpose of calmly conversing upon their manner of pro- 
ceeding at the approaching trial of the King. 

Fourth — With Horatio : wherein his mind still maintains 
its integrity, and their conversation is remarkable as de- 
noting the long existence of a friendship rare for its purity, 
and as exhibiting a geniality of heart, mind and purpose, 
which from natural laws, cannot exist between an insane 
person and one possessed with sound reason. 

Fifth — With the royal forces : (whom it is his evident pur- 
pose to deceive), wherein he immediately puts on an "antic 
disposition" and reassumes his mad character. 

These situations I have drawn from the third act. They 
may be illustrated as follows : — Scene ; a hall in the castle. 
Enter Hamlet and certain players. The instructions which 
Hamlet gives to these players, are, indeed, "marvellous in- 
structions which everybody admires." He tells them how 
to perform their task and then says ; "Go, make you ready." 
As they depart Rosencrantz, Guildenstern and Polonius eD- 
ter. These visitors are unwelcome, but Hamlet politely 
causes them to withdraw, and, in accordance with his evi- 
dent wish, is left alone. He is now about to meditate upon 
the proper course to be pursued by himself, during the per- 
formance of the play which he aptly calls the "Mouse-trap," 
wherein he hopes to "catch the conscience of the King ;" but 
wisely concludes to hold an interview with his friend, and, 
calling Horatio from an adjoining apartment, a rational con- 
versation ensues, which ends thus : — 

Hamlet (to Horatio)— 

"There is a play to-night before the King ; 
One scene of it comes near the circumstance, 
Which I have told thee of my father's death. 
I pray thee, when thou seest that act, a-foot, 
Even with the very comment-of thy soul 
Observe my uncle : if his occulted* guilt 
Do not itself unkennel in one speech, 
It is a damned ghost that we have seen ; 
And my imaginations are as foul 
As Vulcan's stithy. Give him heedful note : 
For I mine eyes will rivit to his face ; 
And, after, we will both our judgments join 
In censure of his seeming. 

* Secret. 



13 

Hokatio— Well, my Lord : 

If he st^al aught, the whilst this play is playing, 
And 'scape detecting I will pay the theft." 

At this juncture Hamlet, ever watchful, says : 

"They are coming to the play, I must be idle :" 

and hurriedly, but with much presence of mind, adds : — 

"Get you a place." 

The remark, "I must be idle," signifies that Hamlet real- 
izes that he must not be discovered in rational parlance with 
Horatio, but that he must again assume his "strange ways." 
As the King, Queen, and Court members appear, Hamlet 
puts on his false character, and in reply to the King's salu- 
tation : "How fares our cousin Hamlet ?" says : — 

"Excellent, i'faith ; of the chameleon's di6h : 
I eat the air, promise-crammed. 
You cannot feed capons so." 

Hamlet's change, at this important juncture, from natur- 
alness of manner to dissembling art, is too apparent to aid 
those who uphold the theory of real insanity. 

As he continues in this crazy manner Ophelia tells him 
that he is merry, and he replies : — 

"O God! your only jig-maker. What should a man do, 
but be merry ? for, look you, how cheerfully my mother looks, 
and my father died within these two hours." 

"Nay," answers Ophelia, "'tis twice two months, my lord." 

Hamlet's remark : "My father died within these two hours," 
is significant ; for I cannot believe that his mind is in any 
way impressed with the idea that his father has but just 
died ; yet Ophelia believes it to be the fancy of a mad brain. 
That it is a figure of speech, which he invents to assist in 
deluding his hearers, we may well conclude. 

Passing on to the result of the play, we find that it proves 
the King's malefaction, thereby meeting Hamlet's most san- 
guine expectations. When we first hear the ghost tell its 
story of murder we can conceive of no way in which the 
truth of the phantom statement can be substantiated ; but 
Hamlet's ingenuity in the premises we must acknowledge, 
and who will not, as a consequence, be willing to "take the 
ghost's word for a thousand pound ?" Should such detective 



14 

skill, producing so sublime a result, be attributed to the 
working of a mad brain ? 

A strong point in the theory of real insanity is Hamlet's 
delay in the matter of revenge. I contend, however, that 
the delay, such as it is, is in accordance with correct princi- 
ples. It would be generous on the part of those who insist 
upon his neglect of duty were they to give him credit for the 
activity he displays in seeking to find a substantial basis for 
revenge. A statement is made by Hamlet in the first act, 
and before he is pronounced to have become insane, that his 
father has been 

"But two months dead. Nay, not so much— not two." 

And if Ophelia's statement in the third act is to be relied 
upon, that he had then been dead "twice two months," Ham- 
let in about two months' time proves the accused guilty by 
constituting himself detective and lawyer, instructing the 
players in the matter of evidence, and trying the case before 
Chief Justice Hamlet and Associate Justice Horatio. Ob- 
viously the "law's delay," as practiced in our American 
courts, would not have suited Hamlet. His purpose to 
avenge his father's death is never abandoned. He neglects 
opportunities for its fulfilment, but not without exercising 
his reason and finding substantial grounds for doing so. 

My own theory, gives Hamlet full credit for faithfully 
obeying the "dread command" and taking the King's life, at a 
time which should entitle him to the highest praise — in an 
hour when he knew his own death was close at hand. It is 
in keeping with good judgment that Hamlet does not, until 
in the fifth act, appoint a period of time within which he re- 
solves to kill the King. That he kills him within that time, 
and solely in accordance with that resolve, I find the evi- 
dence. He then realizes that if he does not take the King's 
life before the time when the " issue of the business in Eng- 
land shall become known in Denmark, his cause will be for- 
ever lost. Hence he determines to perform the duty within 
"the interim," and accepts a challenge from Laertes for 
its furtherance. Dr. Bucknill, in commenting upon the 
reasons which should have induced Hamlet to accept this 



15 

challenge, observes : — " Might not also the challenge be 
accepted as likely to offer a good opportunity to meet the 
King and 'quit him with this arm?' — an opportunity which 
he now resolves to seize whenever it offers." Bucknill, how- 
ever, as if by a slip of the pen, joins many of his eminent con- 
freres in medicine, and blots the lesson which Shakespeare 
intended that Hamlet's life should teach; for "the blow," he 
says, "which finally quits the King was fully deserved for 
his last act ; his end has an accidental suddenness about it 
which disappoints the expectation of judicial revenge." Had 
this author delved deeper, however, and closely followed the 
vein which he seems so happily to have struck he would have 
arrived at a more satisfactory conclusion. It was Hamlet's 
cause and predetermination that spurred him to the act ; 
otherwise he would not have been so well prepared to ad- 
dress the spectators and to leave instructions for the clearing 
up of mysteries, that posterity might learn the truth. He 
took the seal of secrecy from Horatio's lips, that those dark 
but important pages in the history of the # throne might not 
slumber on in the secret vaults of time. It must be borne 
in mind that it was while deciding to kill the King within 
" the interim " that he received the challenge. He was in- 
formed that the " King and Queen and all " would be present 
to witness the engagement, when he significantly replied, 
"In happy time." He expressed to Horatio that he believed 
the event would cost him his own life. From what source 
did he expect this danger ? Not from Laertes, with whom 
he was to "cross swords," for when Horatio told him he 
would lo^se, he replied: — 

" I do not think so; since he went into France, I have been in continual practice." 

It must have been his contemplated attack on the King, then, 
that caused such dark forebodings. 

But for other proofs of a lordly mind let us now follow 
Hamlet to the scene of his triumph and death, where, in the 
midst of the falling ruins, of a debauched throne, sparks of 
Hamlet's towering intellect, the marvels of Shakespeare's 
genius — become dazzling stars in the firmament of the 



16 
* 
human mind. From the moment that Laertes says to him : — 

" Hamlet, thou art slain ; 
No medicine in the world can do thee good ; 
In thee there is not half an hour's life—" 

from that instant (regardless, for the first time, of who is 
present) he throws off all forms of insanity, and never has 
an unimpaired intellect been more discernible than our hero's 
in his dying moments ; never have firmness of action, calm- 
ness of judgment, presence fer~mind and forethought been 
better exercised. He has no further use for his false cloak. 
He is about" to leave this world, and in accordance with his 
previous resolve the dread command must be obeyed. As 
an act, therefore, admitting of no possible delay, he strikes 
at the King with his foil ; but hearing him afterwards implore, 

" O ! yet defend me, friends ; I am but hurt," 

Hamlet, with the pallor of death on his countenance, rises 
to the fearful grandeur of the occasion, and, fearing that his 
work may not prove complete, takes the poisoned cup and 
exclaims :— 

"Here,«thou incestuous, murd'rous, damned Dane, 
Drink off this potion." 

And thus echoing the epithets that were launched upon the 
King ? by himself and his instructor from the other world, on 
the night wherein he vowed revenge, he suits the action to 
the words and deliberately compels his victim to swallow ; 
and, so ere it is too late, fulfils his awful but Heaven exacted 
promise. His reason continues to clearly exhibit itself. He 
values his fair name, and realizes that, without explaining his 
behavior, he will be pronounced by posterity as having been 
a mad-man, or that the killing of the King, as his wilful, 
dying act, will be regarded as a crime abhorrent to that re- 
ligious civilization which his life, in fact, had adorned. There- 
fore, with fleeting breath, and a feeble wafting of his hand 
toward the dead body of the royal wretch, he seeks thus to 
explain : — 

" You that look pale and tremble at this chance, 
That are but mutes or audience to this act, 
Had I but time (an this fell sergeant, death, 
Is strict in his arrest), O ! I could tell you— 
But let it be— Horatio, I am dead ; 
Thou liv'st ; report me and my cause aright 
To the unsatisfied." 



17 

When he finds his strength failing how wisely does he im- 
pose the task upon his friend. 

In furtherance of ray theory, that, in taking the life of 
Claudius, Hamlet laid aside all considerations, save the one 
of judicial revenge, and carried out his own plans, it will be 
noticed in the quotation that he speaks in the singular : 
" this chance," " this act," " my cause." " This act " means 
the exclusive one of killing the King, and since it appears 
to the spectators as a mere chance, he desires for them to 
learn that it is the result of preparation and design. By 
" my cause " he means his great one of revenge, which he 
instructs Horatio to report aiight, inasmuch as its details 
will be known to him alone. His simple words, "Report me 
and my cause aright to the unsatisfied " are an argument in 
themselves. 

When Hamlet was about to thrust at the king he said : — 

' ; The point 
Envenom'd too ! — Then, venom, to. thy work." 

The hidden meaning of these words do much toward reveal- 
ing the fact that Hamlet entered upon the duel for the 
purpose of " quitting the King," and that he looked upon it 
as a piece of " work " to be accomplished through the use 
of the foil ; but when he suddenly learned that the nature 
of his weapon had been changed he was impelled to make 
use of the expression, " the point envenomed too /" and 
since the venom was an unlooked for agency with which he 
was to operate, instead of saying : JVoio, foil, to thy work, 
he very naturally said : " Then, venom, to thy work," Since 
the foil was poisoned he felt doubly sure. Hence the word 
" too " has much force of meaning. I believe it is a remark- 
able fact, that, as yet, not a single writer has represented 
Hamlet as taking the King's life uninfluenced by foreign 
motives ; but, inasmuch as he killed the Monarch within the 
only period of time that he had set apart for that purpose, it 
is eminently proper that we, who are conversant with his 
secret life, should crown his efforts with the glory of an 
honorable triumph, since those who could discover no mo- 
tives, other than local ones, would incline to destroy the 
lustre of his memory for the same act. 



18 

But let us again observe with admiring wonder, now, Iza 
the brief moments preceding death itself, the mighty intel- 
lect of Hamlet moves to save the life of his friend. Mark 
his exquisite words and the physical strength exerted by 
his unimpaired will. Wounded, but standing erect, and 
wresting the fatal cup from the firm grasp of Horatio, he 
entreats him thus : — 

" As thou'rt a man, 
Give me tne cup ; let go; by heaven I'll haye it, 
O God ! Horatio, what a wounded name, * 
Things standing thus unknown, shall live behind me I 
If thou didst ever hold me in thy heart, 
Absent thee from felicity awhile, 
And in this harsh world draw thy breath in pain, 
To tell my story." 

He now pauses, for there steals upon his deafening ears the 
roar of cannon, and music from afar, and he calmly asks : — 

" What warlike noise is this ?" 

Are these, I ask the myriad worshipers of Shakespeare's 
genius, an insane man's acts and words ? He uses the only 
argument that makes Horatio care to live : to put the mem- 
ory of his hallowed Hamlet aright before the world. Let it 
be noted that in this quotation Hamlet uses the plural, 
denoting that in the former he did bear directly upon the 
one act of killing the King. " Things standing unknown " 
he now desires to have fully explained, and prominent among 
those things the faithful Horatio will tell of nothing with 
more satisfaction than of Hamlet's feigned insanity or 
" antic disposition," for the seal placed upon his lips at the 
shadowed platform is now removed, even with Hamlet's 
dying breath. 

But let us see, still again, how, in the very tremor of 
death, Hamlet's godlike reason serves him, and how much 
thoughtfulness he exhibits. In answer to his question, 
" What warlike noise is this ?" he is told : — 

" Young Fortinbras, with conquest come from Poland, 
To the ambassadors of England giveB 
This warlike volley. " 

Hear him, now, in measured cadence, alluding to impor- 
tant affairs of immediate public interest and leaving his 



19 

dying words in behalf of one who has an ancient hereditary 
right to the throne : — 

" O ! I die, Horatio ; 
The potent poison quite o'er-crows my spirit ; 
I cannot live to hear the news from England ; 
But I do prophesy the election lights 
On Fortinbras ; he has my dying voice ; 
So tell him, with the occurrents, more or less, 
Which have solicited. The rest is silence." 

Breathing now a silent prayer, his great spirit passes to 
the unknown world, and as it goes thither on its mysterious 
journey well does Horatio exclaim : — 

" Now cracks a noble heart. Good night, sweet Prince ; 
And flights of angels sing thee to thy rest !" 

and so dies this valiant Hamlet, a death remarkable in its 
sublimity, as illustrating great powers of will and the com- 
plete maintenance of the mind's integrity during the last 
extreme moments of an earthly life. 

Hermann Ulrici, one of the most distinguished German 
philosophers of the present time ; thus comments upon the 
death of Hamlet : — " Although he seems at last to have made 
up his mind to act, nevertheless no one of the subsequent 
events is brought about by his own free volition or accord- 
ing to his own intention. It is only at the very last mo- 
ment, and when he is himself at the point of death, that 
incensed by the discovery of the fresh crimes of the King, 
and, on the impulse of the moment, rather than acting freely 
and deliberately, he mortally wounds him, and then, with a 
sigh for human weakness, expires." I am aware that this 
view receives the support of many profound writers — a fact 
that I can only regard, as strange ; for I yet linger in 
thoughtful contemplation at the matchless beauties of Ham- 
let's character, as exhibited in his dying moments, and at the 
grandeur of his self-possession throughout that awful scene, 
where revenge, treachery and death revelled on the throne 
of Denmark. His good judgment was discernible in declin- 
ing to drink with the King, and again in refusing the Queen. 
While others were confused, and " looked pale and trem- 
bled," Hamlet was self-possessed, and assuming the voice of 
command, exclaimed : — 

" Let the door be lock'd : 
Treachery ! seek it out." 



20 

The most thonghtful question during the turmoil was Ham- 
let's : — 

"■How do«s the Queen V 

and 

" Heaven make thee free of it !" 

was his princely prayer in behalf of Laertes, (from whom he 
had received his mortal hurt) ; while 

" Wretched Queen, adieu !" 

tells plainly that thoughts of his misgirided mother consti- 
tuted the real agonies of his death. 

But I most deny the assertion of Ulrici, that Hamlet had 
discovered the fresh crimes of the King ; for at the time he 
killed the King he could only have believed that Laertes was 
alone guilty of them. Up to that time his adversary dis- 
tinctly represented that the "treachery" and "villainy" was 
his own and in reply to an interrogatory from Hamlet con- 
cerning these crimes, said : — 

" It is hebe, Hamlet, * * * 

The treacherous instrument is in thy hand, 
XJnbated, and envenom'd : the foul practice 
Hath tum'd itself on me." 

In fact, Laertes was minute in details, and his evident 
familiarity with them, coupled with his self-accusation, 
must have impressed Hamlet that Laertes was engaged in 
revenging the death of Polonius. When Laertes merely 
added that the King was " to blame," Hamlet could only 
have thought that he was indirectly to blame, after the same 
manner that he had been for the deaths of Polonius, Ophelia, 
Rosencrantz and Guildenstern. According to the English 
lexicographer and Shakespearian commentator Johnson, 
"to blame" generally implies "but slight censure," and he 
quotes Shakespeare to illustrate his opinion. Undoubtedly, 
Laertes, keenly conscious of his enormous share of guilt, 
and being the active participant, unwittingly spared the 
King in his eagerness to acknowledge his own sins before 
death. 

When the Queen said, " I am poisoned," Hamlet knew 
that the King's passion for her would, at least, debar him 
from committing such a crime, and that policy also would 



21 

prevent it. Nor was he guilty. Her death was accidental. 
It was not until after Hamlet had killed the King that 
Laertes said : — 

" He is justly served ; 
It is a poison tempered by himself." 

Laertes, then (realizing the King's share of guilt,) sought to 
exonerate himself, and Hamlet asked Heaven to make him 
free. 

Hamlet seems to have entertained but little doubt, that 
the event would prove fatal to his own life, and while heroic- 
ally determining to enter upon it, gave expression to these 
jewelled words of priceless value : — 

" There's a special Providence in the fall of a sparrow. If it 
be now, : t is not to come ; if it be not to come, it will be now ; 
if it be not now, yet it will come ; the readiness is all." 

Should these and his final words be "regarded as " sighs for 
human weakness ?" 

Dr. Conolly, of the Koyal College of Physicians in Lon- 
don, has brought out a book entitled : " A Study of Hamlet." 
He would seem to have produced overwhelming arguments 
in support of the theory of insanity, and it has only been, 
by means of a careful " study " of his work, in connection 
with the play itself, that I am enabled to hold firm to several 
of my expressed opinions, which a single perusal of the 
book's contents had shaken. In referring to the death 
scene Conolly observes, that "Hamlet has but energy left to 
prevent Horatio from drinking the poison !" While I have 
sought to illustrate the wonderful powers of Hamlet, in 
that scene, I may ask what degrees of energy can a man be 
expected to exhibit who has received a bleeding wound and 
been poisoned with a stuff that " o'er-crows the spirit " or 
weakens directly the energies themselves, and in whom there 
is not "half an hour's life?" Hamlet was the first to 
receive fatal injury ; yet he outlived Laertes, wounded and 
poisoned in the same manner. It was the force of his 
superior mind and energy that enabled him to do this and 
leave all things so arranged that " the yet unknowing 
world " should learn "how these things came about." 

I contend that Hamlet retained through life, and died in 



22 

full possession of his faculties. The substance of a very 
general argument contrary to this opinion is fully set forth 
by Dr. Kellogg, a physician to the State Lunatic Asylum at 
Utica, N. Y. He says : — " Hamlet sees the ghost beckoning 
him to a distance, and while his companions are quaking 
with terror, he seems to know no fear. * * * After the 
appearance vanishes, the first words he utters give the clew 
to his mental and physical state, and it is quite evident that 
the cord which has been stretched to its utmost tension, 
here snaps suddenly, and the consequences are immediately 
apparent, and are evinced throughout his whole subsequent 
career. Here enters the pathological element into his mind 
and disposition and the working of the leaven of disease is 
soon apparent, for it changes completely and forever his 
whole character. Up to this time we see no weakness, no 
vacillation, no want of energy, no infirmity of purpose. 
After this all these characteristics are irrecoverably lost." 
In the closing scenes of his life did not Hamlet power- 
fully exhibit, and effectively make use of all the characteris- 
tics here enumerated 1 ? Do not facts, then,, disprove the 
assertion that they were irrecoverably lost ? If many 
medical writers on the subject, would study Hamlet's inner 
life and more thoroughly probe the motives which at all times 
actuated him — relying less upon their knowledge of insanity 
as derived from professional experience ; they would find 
that he merely endeavored to imitate that form of insanity 
so often witnessed in their practice. That inconsistency 
was sometimes observable in Hamlet's career I would not 
dispute. Inconsistency, and errors of judgment are to man 
inherent ; and no where did Shakespeare, in his wondrous 
knowledge of human life, show his skill more thoroughly 
than in permitting them to appear in this model type of 
humanity — inconsistencies which appear glaring because we 
do not comprehend the magnitude of the situations in 
which Hamlet was placed ; but which, really, were not so 
great in proportion as are those of our own lives. 

" The wild confusion of the last scene," adds Kellogg, 
" furnishes us a fitting denoiiement of what has preceded. 



23 

It was not to be expected that a drama in which the princi- 
pal actor is an undoubted madman, should end as one in 
which other materials are employed." But Hamlet was not 
confused — his killing the King was but his duty, and such« 
an act would cause a scene of confusion at any time, no 
matter what the circumstances might be. HamleJ^. fell by 
means of the dangerous element to which he was exposed 
by the fact of his mission — as have a thousand heroes whose 
examples are the best legacies bequeathed to mankind. 
The play ended as might have been expected from its begin- 
ning, where we found the Throne usurped by a murderer, 
with whom the Queen had wickedly married, and the accept- 
ance, by Hamlet, of a mysterious mission fraught with 
danger to himself. It ended with the death and overthrow 
of the usurper — the Throne secured to Hamlet's dying 
choice : and the reproachful death of the Queen ; the Royal 
magnates being cut off from lives to which they loved to 
cling — while Hamlet, having faced the danger to which he 
had been ordered (not valuing life while honor was at stake) 
fell at last but triumphant. Indeed, I am at a loss to under- 
stand why the latter portion of the opinion quoted from Dr. 
Kellogg, should at all prevail, when Shakespeare, himself, 
rejects it in a different work. His plays of " Othello " and 
" Hamlet " are, by design, " Tragedies." They each possess 
the sweetest attributes of female character, and the most 
villanous of the male, as opposite and extreme elements. 
Scenes of wild confusion end them both. The wildest of 
which is observable in " Othello," where Iago murders his 
wife; Othello also murders his wife, wounds Iago, and com- 
mits suicide ; while Roderigo is murdered, and Cassio 
wounded. Confusion,,, is the natural result of tragedy, and 
in the play it should not be regarded as evidence of Hamlet's 
insanity. 

It now becomes necessary to review the ghost-scene ; 
wherein, I claim that our hero resolved to feign insanity as 
the safest and most philosophical way of proceeding towards 
the fulfillment of that fearful duty to which he had been 
assigned. Hamlet learned, that on two occasions, during 



24 



the " dead waste and middle of the night," the spirit of 
his father had walked before the Castle platform. The 
news was imparted to him by three friends — Horatio, Mar- 
eellus, and Bernardo. Hamlet, became thoughtful and 
finally said : 

" I will watch to-night ; 
Perchance, 'twill walk again." 

Upon bidding his informers farewell he promised to meet 
them " upon the platform, 'twixt eleven and twelve." His 
words upon being left alone were : — 

" My father's spirit in arms ! all is not well : 
I doubt some foul play : 'would the night were come ! 
Till then sit still my soul : Foul deeds will rise. 
Though all the earth o'erwhelm them, to men's eyes." 

Thus it will be seen that Hamlet was fully prepared to meet 
the ghost. He knew what to expect, as regards its appear- 
ance, for he had received an exact description of its form, 
countenance, manners and costume ; and his words imply, 
that he also expected to learn from it of some foul and 
horrible deed. His mind was, therefore, spared the shock 
which it would have received by a sudden bursting of the 
figure before his eyes, and the immediate sounding in his 
ears of its hollow voice telling a tale of murder. Fortified 
and prepared for the worst, with two friends beside him ; 
Hamlet, willingly, and by self-appointment met the Royal 
phantom, and truly addressed it in " language the terrible 
grandeur of which never has been equaled." I will agree 
with Kellogg that while Horatio and Marcellus were "quak- 
ing with terror," Hamlet seemed to know no fear ; for he 
certainly had determined to maintain a proper degree of 
self-possession. When the ghost beckoned him to a more 
remote ground, his companions implored him not to follow ; 
but, knowing no fear, he followed with a willing heart, 
desiring to do what he could in behalf of the "poor ghost." 
Hence : I contend that fear or fright could have had nothing 
whatever to do with unseating Hamlet's mind. When this 
heroic youth was finally alone with the figure, it informed 
him that his father's death was caused by a " foul murder." 
Is it probable that Hamlet would have become insane, as a 
consequence, had he known of the crime at the Mme of its 



25 

occurrence with all its shocking details staring him in the 
face ? It would have, indeed, been a trial to him ; but he 
was a philosopher, and Ophelia, who knew him so well, told 
us that his reason was a superior one—" a noble and most 
sovereign reason ;" and a man who could so thoroughly 
bring his very reason to bear upon the trials and sorrows of 
life, would be the one, above all others, to retain his mind's 
integrity through such trials as our hero passed. The sting 
caused by the sudden death of his father had passed away. 
He only learned that his parent had been murdered instead 
of having been poisoned by a serpent; and, if his mind 
would not have been injured by knowing of the murder in 
the freshness of affliction, it certainly could not have been 
by the mere story of the ghost at so late a day. He knew 
that his Uncle was a villain, and only learned from the ghost 
that he was a " smiling damned one." When he left his 
companions to follow the figure, the frightful ■ import of 
Horatio's words must have led him to surmise that the 
phantom pathway was a dangerous one : — 

" What, if it tempt you toward the flood, my lord, 
Or to the dreadful summit of the cliff, 
That beetles o'er his base into the sea ? 
And there assume some other horrible form, 
Which might deprive your sovereignty of reason, 
And draw you into madness ? think of it : 
The very place put toys of desperation, 
Without more motive, into every brain, 
That looks so many fathoms to the sea, 
And hears it roar beneath." 

But the mysterious leader retained the familiar form of his 
father, and at the desire of Hamlet it halted on the broad 
plain. Surely, so happy a result must have been quieting 
even to such nerves as sought to rebel against Hamlet's 
will. In the light of the friendly moon a devoted son had 
but followed the gentle shade of a beloved father. 

In seeking to control the movements of the ghost, Ham- 
let exercised a presence of mind hardly to have been 
expected. When commanded to revenge the murder, he 
quite naturally answered in a manner in keeping with that 
remarkable degree of filial obedience which had character- 
ized him when the ghost ruled as his Kingly father. 

" Haste me to know it ; that I, with wings as swift 
As meditation, or the thoughts of love. 
May sweep to my revenge." 



26' 

These words sounded on the night air in tones denoting; 
that the solemn instructions did not disturb the peace of 
his mind, and when the ghost vanished into " thin air " he 
could only have regarded it with a tenderness of affection ; 
and it must have been with regret that he listened to its 
last words : — 

"Adieu, adieu, adieu ! remember me/ 7 

and so ended this renowned interview, on the confines of 
eternity, between a princely son and his ghostly father. A 
scene more ennobling has never been penned, and all 
attempts must fail to do it justice. That remarkable degree 
of courage evinced by Hamlet, at the time he determined to 
seek for the phantom, was fully sustained throughout his 
trying ordeal ; — 

" If it assume my nobla father's person, 
I'll speak to it, though hell itself should gape, 
And bid me hold my peace." 

And thus by a careful study, we learn that the ghost 
scene was shorn of more than half its supposed terrors. 
SchlegeL^devoted several years of his life to Shakespearian 
research. In bearing upon this scene he observes : — " A 
voice from another world, commissioned it would appear 
by Heaven, demands vengeance for a monstrous enor- 
mity, and the demand remains without effect." How 
such a conclusion could have been arrived at, by one 
so profound, and receive the sanction of numerous writers, 
of whatever theory they may uphold, would seem to be an 
enigma in itself. The ghost's parting words to be remem- 
bered were faithfully treasured, within the " book and 
volume " of Hamlet's brain, until he finally gave himself to 
the sacrifice in order to secure that vengeance which Heaven 
had demanded. The ghost desired revenge — the death of 
the King. It was attained. 

The most prominent charge that the critics have brought 
against Hamlet, is that of " wasting his time and dallying 
with his purpose," after having expressed so earnest a desire 
to " sweep to his revenge." " He vacillates," says Cole- 
ridge, " from sensibility, and procrastinates from thought, 



27 

and loses the power of action in the energy of resolve." 
Dr. Nathan Drake, author of a gigantic work on Shake- 
speare, containing 1400 pages, remarks that "his irresolution 
and weakness is partly the result of emotions highly 
amiable ; but adds that the " awful appearance of the 
spectre overwhelms him with astonishment and unhinges 
his mind." 

True it is, I admit, that Hamlet, in great haste, wished to 
learn who had committed the murder, that he might " sweep 
to his revenge ;" but, upon being told that it was his Uncle 
— his mother's husband, and by law, his father, in fact the 
very King ; his broad comprehension pictured at once the 
deplorable results of such hasty proceedings. The King 
killed, his country would receive a severe shock ; while he 
was liable, himself, to have an infamy cast upon his name 
by the perpetration of an act in which he would (in all 
human probability), be detected, and which would be 
regarded as a crime most unnatural, if not unparalleled. 
Ophelia, the woman he loved, would be compelled to regard 
him as a wilful parricide, guilty also of high treason ; and any 
attempt at extenuation on the part of Horatio, Marcellus or 
Bernardo, would only implicate themselves ; for the story 
of the ghost would not be admitted as evidence.. He must 
therefore guard against injury befalling, not only himself, 
but his three friends. With these, and other thoughts, 
flashing upon his perception, he very naturally staggered in 
his hasty resolve, and still more naturally decided upon a 
deliberate plan of proceeding. Furthermore, though he was 
induced to place confidence in the spectre and to respect 
its statements, yet, a lingering doubt existed in his mind, 
as to its honesty of purpose; for the first words he addressed 
it, were : — - 

" Be thou a spirit of health, or goblin damn'd, 
Bring with thee airs from heaven, or blasts from hell, 
Be thy intents wicked, or charitable ?" 

It was from this stand-point, that Hamlet persistently 
declined to " kill " until he had learned the truth. His con- 
science had not fled. It pricked him to deliberate, and its 
whisperings were, " think twice before you leap." 



28 

Had lie killed the King at once — without waiting for 
tangible proofs of guilt, and even escaped detection — he 
might, indeed, have become the insane person which the 
critics would now have him ; for, doubting the ghost's 
honesty, he would have finally come to the belief that he 
had taken the life of an innocent man, and that the ghost 
was an illusion : and thus thoughts of the horrible deed 
would have preyed upon his mind. This illustrates that 
Hamlet's reasoning was of the highest intellectual order, 
and that in changing his mind, he was moved by funda- 
mental principles. 

Hamlet hoped that any indiscretion, or overt act which 
might endanger his cause, would, while adhering to it in a 
more judicious manner, be lost in their force and bearing 
beneath a cloak of insanity, and if detected in the act of 
revenge, he believed it would preserve his honor and ensure 
his safety. It is quite likely that the idea of feigning mad- 
ness was suggested by Horatio's appeal. Certain it is, that 
the scene painted by his friend's imagination was not experi- 
enced ; but since his companions might expect to find him, 
with his reason dethroned, he determined to return to them 
disguised as a madman, and the happy result was, that 
Horatio, momentarily, accused him of using " wild and 
hurling words," when our hero's fertile brain again acted, as 
the occasion would seem to require, and he considered that 
those friends who had also seen the ghost niust be made his 
confidants and perhaps, co-workers. He therefore exacted an 
oath, from the two who had been in waiting for him, that 
they would "never make kuown what they had seen," and 
swore them to his secret resolve to feign madness, in a man- 
ner evincing the wonderful powers of a ready ingenuity ; 
for the oaths he administered were thorough and complete 
— rare specimens of exactness and compact meaning — strictly 
binding, and perfectly describing the strange, odd and antic 
ways he afterwards assumed — "strange," "odd," and 
" antic," the very words embodied in the oaths. 

It will be noticed in the text that the ghost approved the 
oaths, and enjoined Horatio and Marcellus to swear — the 



29 

weird voice coming from the ground beneath. Upon their 
acceptance, Hamlet threw off his false cloak, and in the pres- 
ence of his confidants was again himself. When the ghost, 
for the fourth time, pronounced the word " swear," a pang 
entered the heart of Hamlet, for having, (in his false charac- 
ter) while testing the sincerity of his friends, and until he 
had fully secured their confidence, spoken so disrespectfully 
to what he was led to regard as his father's spirit. He 
regretted having called it "old mole" and the "fellow in the 
cellarage " and was soivy for having worried it by " shift- 
ing his ground " so often, and in tones of grief, for having 
thus treated it, he addressed it, sayirjg -. — 

"Rest, rest, perturbed spirit." 

and, then, with a sense of gratitude, he turned to his 
friends and said : — 

" So, gentlemen, 
With all my love I do commend me to you : 
And what so poor a man as Hamlet is 
May do, to express his love and friending to you, 
God willing, shall not lack." 

Hamlet's language and manner to the ghost, while swearing 
his friends, was so different from the respect he had previ- 
ously shown it, " betrays," says Dr. Ray, " the excitement 
of delirium, the wandering of a mind reeling under the first 
strokes of disease." But in further opposition to the opin- 
ion of this eminent psychologist it may be remarked that 
when Hamlet again met the ghost, he treated it with the 
same degree of respect that he had originally shown it. 

Let us again observe the precaution which Hamlet must 
have taken, denoting, unmistakably, the careful planning of 
his project to feign madness. Thus far, he had sworn Horatio 
and Marcellus only, to his cause, yet, the earthly visit of the 
ghost did not become known to the general ear. It is evi- 
dent, therefore, that Bernardo, who also saw the figure 
and had conversed with Hamlet in regard to it, did not seek 
to explain, as a reason for Hamlet's " antic disposition," 
the fact that his father's spirit had appeared ; but, that he, 
like Horatio and Marcellus, kept the affair a profound secret 
we must admit as a theory beyond cavil. Hence : I con- 
tend that Hamlet sought Bernardo, and administered to him 



30 

the same oaths. Under any other argument the action of 
the drama becomes, altogether, inconsistent. The extreme 
caution on the part of Hamlet to keep the ghost's appear- 
ance a secret, was discernible before the time, that the 
pathological element is said to have entered his mind, as 
well as after ; for, when his friends first told him of the 
wonder he said to them : — 

" I pray you all, 
If you have hitherto conceal'd this sight, 
Let it be tenable in your silence still ; 
And whatsoever else shall hap to-night. 
Give it an understanding, but no tongue ; 
I will requite your loves." 

A sense of gratitude, for favors, is observable in both 
instances. Dr. Conolly remarks, that, " it can scarcely be 
understood why Hamlet is devoured by anxiety to have the 
appearance of the ghost kept secret." But to me, our 
hero's wisdom in the premises is apparent, for, had the 
King been told that the spirit of his murdered victim had 
appeared to Hamlet, or any of Hamlet's friends, we can 
easily imagine the course which his guilty conscience would 
have led him to pursue. 

This ghost scene is the most important invention that has 
been achieved in dramatic art. It is, in representation, a 
voice prompted by Heaven— the secret of a murder being 
revealed— that influence, which often brings the guilty to 
punishment as if by accident. It is but form and feature, 
given to an ever existing power, that works invisibly — the 
tracks of crime which cunning ingenuity fails to cover. It 
terrifies the would be criminal, and teaches him, in 
Hamlet's own words, (the most valuable, in their import of 
any that have ever been uttered) that, " Murder, though it 
hath no tongue, will speak with most miraculous organ !" 

It is supposed that the action of this drama covers a 
lengthy period of time. I regard ?it, however, as short. By 
reducing the time to a very brief period, the theory of real 
insanity must necessarily be materially weakened. It has 
already been shown that it was but two months, from the time 
that Hamlet saw the ghost until he proved the King guilty. 
During that time he did not make any attempt to kill the 



31 

King ; but his manner of proceeding conclusively proves 
the supremacy of reason. His conscience yearned for 
proofs of guilt beyond a phantom's statement. He did not, 
however, at any time abandon his cause ; .but continually 
thought, and planned until he found the proofs. What did 
he do then ? Why he did nothing ; but to act with deter- 
mined energy — making three separate attempts to take the 
King's life. In the first attempt his arm failed him, for the 
moment, because his imagination pictured his father suffer- 
ing the tortures of Hell, and for him to kill the King when 
found at prayers, would only be to send that father's mur- 
derer to the felicities of Heaven. Hamlet's reason for 
postponing the act, at such a time, has proved a stumbling 
block to the critics. The great Dr. Johnson regards it as 
"an atrocious and horrible sentiment on the part of Ham- 
let." But I say, that Hamlet naturally considered the 
question of the next world, for his dealings were with that 
world, under command of one of its own agents, and his 
necessarily immediate decision, (for, a moment later, he would 
have been discovered on dangerous grounds,) was influenced 
by the words of that same agent that were still ringing in 
his ears. The ghost had taken pains to impress the subject 
of the next world's punishment upon Hamlet's mind. 

In the second attempt he made an unfortunate mistake 
and killed Polonius; and that is just as good, so far as 
intent and action goes, as if he had killed the King. It was 
a mistake no greater in proportion than we, ourselves, often 
make while endeavoring to perform difficult and unhappy 
tasks. 

In the third attempt he succeeds in killing the King. 

How long a time was consumed while making these 
attempts'? Why the very next thing that Hamlet did, after 
finding Claudius guilty, was to make the first attempt, and 
a few hours afterwards he made the second. It could not 
have been but a few hours later at the utmost ; for Hamlet 
was under appointment to meet his mother in her chamber, 
and it was then, and there that he killed Polonius. The 
King,, then shipped him to England, as a consequence. 



32 

Now let us see what followed. The vessel was at sea but 
two days, when Hamlet was captured by pirates ; but the 
ship proceeded on her journey. Through the exercise of 
his good judgment Hamlet succeeded in winning favors, 
and the pirates returned him without delay to Denmark. 
He must have been returned very soon ; for he succeeded in 
killing the King on the very day that the news reached Den- 
mark, that the ship had arrived in England. What becomes 
now, of the great lapse of time 1 and when, and where, and 
how did Hamlet " trifle or dally " with his purpose I 

King Richard the second, landed on the coasfc of Wales, 
can talk " of graves, of worms and epitaphs," and about the 
" paste and cover to our bones ;" but you would call poor 
Hamlet mad, for saying to his friend, while standing in a 
grave-yard and holding a human scull in his hand : — " To 
what base uses we may return, Horatio ! Why may not 
imagination trace the noble dust of Alexander, till he find 
it stopping a bung-hole ?" * * * 

" Imperial Cfesar, dead, and turn'd to clay, 
Might stop a bole to keep the wind away." 

Hamlet^realized in the very fullness of reality, that this body 
of ours, beautiful and marvellous in its living mechanism, 
must perish. He realized that it might fall, and decay by 
the way-side, on the mountain, or in the valley — that it 
might be tossed upon some barren shore by the surging 
waves of the ocean, or sink beneath the still waters of some 
placid lake— that it might be consumed in fires, and its ashes 
be scattered by the winds ; or that loving hands might lay it 
away in the quiet tomb, or peaceful grave. That whatever 
might be done to the body, or with it, he realized that it 
must become dust of the earth, which might be used, alas ! 
we know not for what purposes — imagination might, even, 
trace the dust of the most noble till he find it put to ridicu- 
lous and base uses. But, when Hamlet speaks of the soul, 
what does he say of that? He declares, that it is "a thing 
immortal," and asks: What can be done "to that?" Upon 
the Monument, in Westminster Abbey, erected to the mem- 



33 

ory of Shakespeare, are inscribed these : his own sentiments — 

" The cloud-capp'd towers, the gorgeous palaces, 
The solemn temples, the great globe itself, 
Yea, all which it inhabit, shall dissolve ; 
And, like the baseless fabric of a vision, 
Leave not a wreck behind !" 

Would that these : also his words, followed — 

—"but Heaven keeps His part in eternal life." 

O, I would say to the skeptical, that there must be immor- 
tality for the soul, since a mortal like Shakespeare has lived 
and proclaimed it. 

A critic in BlaclcwoQcPs Magazine, inclines to believe that 
Hamlet's mind was disproportioned because of his extreme 
ideas of man, and cites these words of the prince in illustra- 
tion : — " What a piece of work is a man ! How noble in 
reason ! how infinite in faculties ! in form and moving, how 
express and admirable ! in action, how like an angel ! in 
apprehension, how like a God !" Had Hamlet applied those 
words to either you or me, I might have thought him insane; 
but they constitute a faithful summing up of the characters 
of Shakespeare and his hero, and they are man in the best 
and truest sense. Hamlet was beloved by the multitude, 
and we may be sure that Ophelia, while contemplating his 
supposed loss of reason, did not exaggerate his intellectual 
qualities or graces of manhood, when she said : — 

" O, what a noble mind is here o'erthrown ! 
The scholar's, courtier's, soldier's, eye, tongue, sword : 
The expectancy and rose of the fair State, 
The glass of fashion, and the mould of form, 
The observ'd of all observers ! * * * 

* * * the honey of his music vows, 

* * * that noble and most sovereign reason, 

That vmmatch'd form and feature of blown youth, 
Blasted with ecstacy : * * * " 

Those are appalling truths spoken by Victor Hugo, when 
he says: — "Shakespeare departs, arrives, starts again, 
mounts, descends, hovers, dives, sinks, rushes, plunges into 
the depths below, plunges into the depths above. He is one 
of those geniuses that God purposely leaves unbridled, so that 
they may go headlong and in full flight into the infinite." 
"From time to time," he says, "there comes on this globe 
one of these spirits. There passage renews art, science, 



• . 34 

philosophy, or society. They fill a century, then disappear. 
Then it is not one century alone that their light illumines : it 
is humanity from one end to another of time, and it is per- 
ceived that each of these men was the human mind itself con- 
tained whole in one brain, and coming at a given moment, 
to give on earth an impetus to progress." 

In Hamlet, Shakespeare portrayed his own characteristics, 
and consequently those of a spirit such as Hugo has thus 
depicted. 

JOSEPH WATSON. 



A LECTURE 



Shakespeare's Enigmatical Work, 



Embracing a New Theory, 



By Joseph Watson, 

(Member of the Newport Historical Society.) 



Delivered before the Newport Lecture Association and the Newport 

Historical Society, also under the auspices of the American 

Literary Bureau in Boston ; and in Providence, 

(B. I.,) after introductory remarks by the 

Executive of the State, &c, &c. 



(Private Edition. — Copyrighted according to Law.) 



NEWPOET, B. L: 

DAVIS AND PITMAN, STEAM PRINTERS, 

1878. 



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